This artwork emphasis on one of the human’s basic needs that features “To Be Seen”. The heavy load that this phrase brings is equal to other statements such as having equal rights, being under attention, being affective, being affected and many other similar needs. Paying enough attention to the Blind population of Iran as a number of citizens in this country, which are always suffering from lack of attention and being unaccountable, whom counterfeit many problems, lead us to the phrase that “They Are Not Seen”. Neglecting the fundamental needs of the blind such as transportation, offering proper jobs, good living conditions, environmental adaptation and so many others, is a matter of consideration in many countries. This artwork consists of some silvered lamps, pitched on the wall in the figure of “Do You See Me!” in the Braille fonts. Utilizing the lamps in this artwork as the source of light (light, information, brightness and wisdom), and the mirror effects of the silvered lamp’s surface that barricade the transition of light and keeps the lights and brightness behind itself, is similar to the Braille fonts which carry many information insides and you will be able to understand the meaning and get through the source of information only by touching the fonts. By the fact, when you get close to the lamps, it will be possible for you to understand the hidden information, warmness and the main objective of the artwork by touching and feeling it. When bystanders get close to the artwork, they can see their pictures and become curious to discover the secret inside it, and at last find nothing except themselves. Eventually, viewers recognize the name of the artwork and see themselves in the lamps, which is the final step for completion of this artwork.

Memory Lives onThis piece is driven from a type of dome, which has been used in southern parts of Iran, Iraq, and some other neighbor countries. One of the differences of these domes with other domes in Islamic countries and the domes in the region is that in these domes the aesthetic aspects depend on the shape and form of the dome itself (in other domes the aesthetic aspect is relied on the tile working, painting, etc.).The main characteristic of these domes is evolution from a simple polygon to a more complex and more mature polygon in its movement towards the top of the dome. In fact these domes encounter a kind of evolution and development.

The ladder shape of the dome is a kind of metaphor for spiritual maturity of a human being and reaching to the universe quintessence and Godliness. The philosophy of the construction of these domes step by step associates spiritual return of human towards Unitarianism.

The other matter is the point of view of spectator. This time, opposed to the expectations, the dome is represented horizontally not vertically which represents another sight for the spectator.

More important is the UV color used to cover this piece. With the presence of black lights in the exhibition space, by passing time, the color of the piece changes. During daylight the color of the piece is steel. As it gets darker gradually the piece becomes red in color. With this color changing during day and night, it gives a sense of vitality.

Derived from the Arabic term Sulook, the name finds its roots in the Sufi tradition of mysticism. It alludes to a spiritual pathway and involves developing both the exoteric and esoteric aspects of life with accordance to religious guidance.In physical form, the complex geometric structures and modern aesthetic in the exhibit take inspiration from the traditional structure of the dome — an ancient Persian structural form that became a defining feature of Muslim architecture — specifically, a variation of the dome where its beauty lies in the shape and form rather than its embellishment. Linking science and geometry to the metaphysical nature of spirituality, Hesamiyan references the construction philosophy of these domes, wherein the height and upward movement of the structure is a metaphor for the heavenly transcendence man reaches with enlightenment.

The contemporary interpretation of the dome, through the use of innovative medium such as plexus, UV powder, black lights and reticular form, not only gives mutability to the piece, but also explores both the internal and external spaces and presents the multifaceted relationship that exists between modernity and tradition.

The show is based around, and named after, the main sculpture Khalvat – a Persian word that translates to a hidden, private sanctum. Linking science and geometry to the abstract nature of spirituality, it is a reflective attempt to discover the esoteric nature of Iranian culture through the dissection of its architectural forms. Khalvat adopts the traditional triangular form of Rasmi, with the artist exposing through the superficial layers of the structure to offer a look towards the inward and sacred, by juxtaposing the external embellished Iranian architecture with its abandoned equivalent, transparent and accessible in its carcass form. Traditional Iranian Islamic architecture is introverted, enclosed and recondite. The final creation is inaccessible, and can’t be appreciated completely at a glance or discovered in the initial survey. Intricate ornamental details, superfluity of architectural elements and richness of colors and shades make external envelopment impenetrable for a person to understand the structure within. Preserved with mystery and grandiosity, traditional Iranian architecture is almost inscrutable. The task set by the artist is to search for the truth, which in Sufi tradition should be found in a clear form. In that sense, layers are peeled apart, opening to the viewer an ability to discover meaning, spirit and the core. Khalvat is a result of comprehensive research in attempting to find a coherent structure in Iranian architecture, and with it a cultural framework itself.